Take this Which Earwig And The Witch Character Are You quiz to find out. We update the quiz regularly and it’s the most accurate among the other quizzes.
The computer-animated Japanese kiddy story “Earwig and the Witch,” a new animation produced by Studio Ghibli and directed by Goro Miyazaki, son of studio leader and anime pioneer Hayao Miyazaki, has a fairly low bar to clear. “Earwig and the Witch” is the second Ghibli adaptation of a Diana Wynne Jones novel after “Howl’s Moving Castle,” and it’s visually similar to other Ghibli films (imagine a more timid “Kiki’s Delivery Service”), so you could be forgiven for thinking that much of this new film’s visual style—as well as narrative beats, character types, and general mood—looks familiar.
The formulaic exploits of brave orphan Earwig (Kokoro Hirasawa), apprentice to stingy witch-for-hire Bella Yaga (Shinobu Terajima), and the biological daughter of mysteriously absent musician are nothing new (Sherina Munaf). And, while being conventional isn’t always fatal, “Earwig and the Witch” is a disappointing Ghibli repeat, owing primarily to its unimpressive 3-D animation style and Goro’s relative lack of animation experience. (Even Hayao was first critical of Goro’s approach to “Tales from Earthsea,” Goro’s directorial debut, but he later provided some cautious praise: “It was made honestly, thus it was good.”)
Which Earwig And The Witch Character Are You?
“Earwig and the Witch” isn’t visually vibrant enough to be more than a lumpy cover version of Hayao’s best hits, which is especially frustrating given how much of the film is about the anguish of having parents who don’t notice or care for you past a certain point. Also, you must try to play this Which Earwig And The Witch Character Are You quiz.
That being said, Earwig is unlike Annie, Oliver, and so many other literary orphans before her in that she doesn’t appear to care as much about reuniting with her mother as she does about controlling her environment. She has everyone at the orphanage wrapped around her small fingers, so she is surprised when Bella Yaga and her secretive warlock partner Mandrake adopt her (Etsushi Toyokawa). Earwig’s tune only marginally changes after Bella Yaga puts her to work, accomplishing menial witchy jobs but never mastering the principles of spellcraft.
There is no urgency to Earwig’s study or development as a witch, no true struggle, and no suspense with a ticking clock. Earwig’s character also doesn’t grow or progress much: she rarely thinks about her orphanage pal Custard (Yusei Saito), though she does occasionally use his name when referring to her talking cat Thomas (Gaku Hamada). That Freudian slip may be more interesting if Earwig appeared to have an inner existence based on her bodily movements and on-screen conduct.
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It’s easy to admire Katsuya Kondo’s character designs and Yuhki Takeuchi’s art direction (especially his background art) in “Earwig and the Witch,” but it’s harder to find much emotional resonance in the film’s stiff computer-generated animation, whose supervision is credited to Yukinori Nakamura (computer graphics) and Tan Se Ri (animation) (general animation). Earwig’s over-arched pencil brows or Bella Yaga’s Medusa-like curls are examples of how characters’ emotions are frequently reduced to inexpressive, yet broadly over-accented actions or features. Because of the restrictions of the film’s made-for-TV budget, these details convey a lot without ever being truly expressive.
The most striking imagery and scenarios in “Earwig and the Witch” are those in which characters are depicted as elements of their surroundings. Children concealed beneath bedsheets skipping up a spiral staircase, happy adults kneeling over clusters of excited orphans, or Earwig’s occasional daydreams about Mandrake (who is frequently portrayed lurking behind a newspaper or his bedroom walls), that type of thing. When characters’ facial expressions and physical actions must reflect their individual features, complications usually occur. This is unfortunate given that all three of Goro’s films are visually bland, especially “From Up On Poppy Hill,” which was originally planned and scripted by father Hayao.
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